R Wells Gallery Wall Decorations

Early 19th century mounted bronze 3/4 profile. Likely French but possibly English. Carved wooden backing custom just for this particular item. In the original frame and retaining an ...

Jacob Glushakow (1914 – October 12, 2000[2]) was an American painter known for his keen observations of life in the city of Baltimore, Maryland, United States. He graduated from the ...

Antoni Tàpies wool carpet, this work is 1 from an edition of 6 hand made in 1968, by Maolo Millares and Carola Torres (1926-1972), signed in the upper left corer. These were sold thr...

Using 1500 clothes pins to combine painting and sculpture to a dramatic affect is what artist Annie Morris is most famed for. Each peg is individually pai...

Jason Seley sculpture dated 1967 and titled 36 Key, Keyboard. From a private Chicago Collection. Seley was the Dean of Architecture at Cornell University and he taught at Hofstra University and The New York University...

Stunning little american folkhart water color of a young gentleman. Sitting with his arm over the back of what appears to be a tiger maple chair of the period. In the lower right corner we can see what is a tiger maple table...

A rare gem of a piece. Untitled by Allen Atwell, creator of the Psychedelic Temple in 1964. His works become available few and far between. Measure: 10 x 16 in., 11 1/2 x 17 1/2 in. ...

Pair Wall Sconces by Deborah Thomas of The Northern Fleet Series Constructed using numerous pieces of broken glass jars, each individually wired to an a...

Wind, Ocean, Sun by Balcomb Greene painted in 1963. Signed on the front titled and dated on the reverse. Paintings of the Montauk coast by Balcomb Greene are few and far between. Thi...

The Cliffs by Balcomb Greene painted in 1978. Signed on the front titled and dated on the reverse. Paintings of the Montauk coast by Balcomb Greene are few and far between. This painting likely created at his Studio in Montauk New York. Painting is in excellent original condition and retains the original gallery frame. provenance: Estate of Gertrude B. Pascal / Gifted from the previous in 1987, The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY / Christie's, New York 2012 / Private Collection, New Jersey Public collections: Baltimore Museum of Art, Baltimore, MD Brooklyn Museum, Brooklyn, NY Cleveland Museum of Art, Cleveland, OH The Art Institute of Chicago, Chicago, IL Corcoran Gallery of Art, Washington, D.C. Guild Hall, East Hampton, NY Wadsworth Atheneum, Hartford, CT Museum of Fine Arts, Houston, TX Indianapolis Museum of Art, Indianapolis, IN Metropolitan Museum of Art, New York, NY Museum of Modern Art, New York, NY National Museum of American Art, Washington, D.C. Joslyn Art Museum, Omaha, NE Pennsylvania Academy of the Fine Arts, Philadelphia, PA Norton Simon Museum, Pasadena, CA Portland Museum of Art, Portland, OR Neuberger Museum, Purchase, NY Solomon R. Guggenheim Museum, New York, NY Parrish Museum, Southampton, NY Whitney Museum of American Art, New York, NY Walker Art Center, Minneapolis, MN Butler Institute of American Art, Youngstown, OH Boca Museum of Art, Boca Raton, FL Over a lifespan of 86 years, Balcomb Greene followed his muse wherever it led, unfettered by what had come before, unafraid of where the future might lead. Despite a series of different pathways explored, his purpose remained ever constant: to express truth as he found it and communicate it to a broader audience. In the 1930s, Greene was a young artist committed to abstraction as his expressive language. Greene’s paintings and collages of the 1930s reflect the influence of Pablo Picasso and Piet Mondrian and put him in the company of fellow Americans, including Ibram Lassaw, Josef Albers, Ilya Boltowsky and George L. K. Morris, all among the founding members, in 1936, of American Abstract Artists. John Wesley Greene, his christened name which he never legally changed, was born in 1904 in Millville, New York, the third child and only son of Methodist minister The Reverend Bertram Stillman Greene (1864–1929) and Florence Stover Greene (1876–1911). His family on both sides were Revolutionary-era colonists, originally living in Connecticut and Vermont before joining the Yankee migration to the western frontier of New York State. In 1922, John Wesley Greene enrolled at Syracuse University aided by a scholarship for the sons of Methodist ministers and intending to fulfill the promise of his name and follow his father into the ministry. As with so many before and after him, the liberal education he absorbed at Syracuse broadened his horizons and reshaped his life plan. Studying philosophy, psychology, and literature, along the way he separated himself from organized religion. During his senior year, on a visit to The Metropolitan Museum of Art in New York City, Greene was introduced to Gertrude Glass (1904–1956), an art student and the Brooklyn-born daughter of Latvian Jewish immigrants. Following Greene’s graduation, the two married in 1926 and went to Europe. They stopped briefly in Paris but spent most of their time in Vienna where Greene had a fellowship to study psychology. When they returned to New York in 1927, Greene enrolled in a master’s program in ‘English literature at Columbia University. When his thesis advisor rejected his essay topic on the “fallen woman” in seventeenth-century literature as inappropriate, he left without a degree. From 1928 until 1931, Greene taught English at Dartmouth College in Hanover, New Hampshire. At some point, he stopped using his given name, John, and began to call himself, more distinctively, Balcomb, the family name of his paternal grandmother. While Greene wrote three novels (all unpublished) during his teaching years at Dartmouth, his wife was a working artist, and he eventually developed an interest of his own in painting. In 1931, Greene gave up his teaching position and he and Gertrude went to Paris, determined to immerse themselves in the modern art ferment they had briefly experienced in their earlier visit. For young Americans with no prescribed agenda, a receptiveness to innovation, and wide-open eyes and minds. Paris, in 1931, offered a rich stew of approaches to modern art. The city absorbed and transmuted an international mélange of styles—cubism, orphism, futurism, dadaism, constructivism, neoplasticism, suprematism, de Stijl, Bauhaus—France encountering Holland, Germany, Italy, and Russia with Pablo Picasso from Spain, Constantin Brancusi from Romania, and Jacques Lipchitz from Lithuania. As a sculptor, Gertrude Greene...

This early and important work by Martin Kline is one of the first of this kind and the only of its stylistic type available. Titled "Youthful Protuberance" and created in 1998 with e...

This is a very beautiful , highly detailed and well executed portrait of a woman. Created in the early nineteenth century with graphite on paper. The sitter can be seen with a book in her hand and a ring on her finger. She is sitting in a painted fancy chair by the window with the drape pulled back...

Oil on canvas, 1972, signed 'T. Klaverkamp', titled and dated on the reverse. This large ad mesmerizing painting draws the i the view of lookers from any angle ad sets the mood for...

Oil on canvas by American artist Eduard Buk Ulreich. Signed and dated 1933. Retaining the original artists frame. Few of his oil paintings survive as most of what you find are water...

Okashi was born in Israel and studied painting while working as a Shepard in Galilee. His early work was figurative and his later work featured bold abstracts, which established hi...

A fantastic original oil on canvas by Naohiko Inukai. This is number forty in a series of colored scapes he created in the mid 1960's and is in excellent condition. This work is signed and dated on the reverse It's color changes subtly with the lighting, when properly lit it casts a beautiful warm orange tone throughout the room. Born in 1937 in Kurashiki-city Okayama,Japan. He came to the US around 1960 and returned to Japan around 1982 were he still resides. Education:Cooper Union School of Art and Architecture New York...

A rare piece to be found. Due to his early demise the number of works available by this artist are limited. His work can be found in every major collection in the United States. He was a Guggenheim Fellow, Museum of Modern Art Curator and rising Futurist Artist who was murdered in his New York apartment in 1961 when he was only 38 years old. Titled "Hypnerotomachia", the name means 'the act of falling in love in a dream'. This amazing and rare piece was created just one year after his success with exhibiting at the Venice Biennale of 1956. Semi-abstract composition and very dream like. This painting retains the original carved and gilded Hydenryk frame and has been professionally cleaned and conserved. His work can be found in every major collection in the United States. Charles Oscar...

Louis Stettner, Subway New York, 1946, printed circa 1990. This image is illustrated the book " Traveling Light". It was published to celebrate a major...

Description "Still Life With An Orange" oil on canvas was painted by James Mellor Hanson (1900-1963) in 1956. It is in excellent as found condition and mounted in a wonderful period frame. This was part of the Herbert F. Johnson Museum inventory till 20+ years ago when it became part of a prominent collection in East Hampton New York. The canvas measures: 24" H. by 29" W. The frame's exterior : 31.50" H. by 36.50" W. Hanson was born in Yorkshire, England in 1900. He left England in 1925 for Paris where he studied with Fernand Leger and Andre Andre Lhote and worked with Le Corbusier. He returned to England after 8 years and became part of the circle of artists that formed around Henry Moore and Ben Nicholson. By 1938 he had a Studio in NYC until he joined the art faculty at Cornell University, where he taught until his death in 1963. He exhibited widely at MOMA, Whitney, Art Institute of Chicago and the Carnegie Museum in Pittsburg. This Still Life is considered an example of his mature work, where he has taken his early influences from both Leger and Nicholson and created a style unique unto himself. This painting was kept in the artist's collection until his estate was given to Cornell University's Johnson Museum Of Art. His work is in several museum collections in the United States and England, including The Metropolitan Museum NYC, MoMA, the Nelson-Atkins in Kansas City, the White Museum at Cornell, National Museum Wales, National Museum Cardiff, and Bankfield Museum in Halifax, England, The Hepworth Wakefield, UK Partial exibition list: 1928 – Galerie Mots et Images, Paris 1928-32 – Salon des Independants, Paris 1929 – Galerie Aubier, Paris (group) 1935 – Galerie Jeanne Castel, Paris 1937-38 – Wertheim Gallery, London 1938 – Bankfield Museum, Halifax, England 1941-57 – Passedoit Gallery, New York (8 one-man exhibitions) 1943-50 – Carnegie Institute, Pittsburgh (group) 1950 – Art Institute of Chicago (group) 1950 – Toledo Museum of Art, Ohio (group) 1953 – Cranbrook Academy of Art, Bloomfield Hills, Michigan (group) 1954 – MoMA, New York, 25th Anniv. exhibition (group) 1959 – Corcoran Gallery of Art, D.C. (group) 1960 – Andrew Dickson White...

Signed dated ad titled “The Irresistible Landscape”. This painting was personal to the artist as Brook was born on July 14, 1898 ad at the age of twelve was bed-ridden with Polio. This painting is a self-portrait showing the artist looking out the windows of the room he rarely was able to leave. This painting was exhibited at the Pennsylvania Academy of Fie Arts ad the Ogunquit Museum Of America Art, exhibition tags from both institutions are attached to the stretcher en verso. Born in Brooklyn, New York, Alexander Brook was a realist painter, whose works consisted mostly of still-life subjects, landscapes, and figures, often of women. He was very successful in his day, winning second prize to Picasso's first prize at the Carnegie Institute International Exhibition of Modern Painting in 1930. In New York, he studied at the Art Students League between the years of 1914-1918. It was at the Art Students League that Brook developed significant relationships with Niles Spencer, Reginald Marsh, Kenneth Hays Miller, Yasuo Kuniyoshi and, perhaps most significantly, Peggy Bacon, whom he married in 1920. Along with Kenneth Hayes Miller, Brook studied with John C. Johansen, Frank V. DuMond, George Bridgeman and Dimitri Romanofski. Within this group lay the foundations of American Realism. Brook was a member of the Society of Independent Artists, who rebelled against the strictures of the National Academy of Design. In 1938 Brook traveled to Savannah, Georgia, there he did some of his most provocative work. After two years in the South, Bacon and Brook were divorced. Brook later married the painter Gina Knee. During the years 1928 through 1939, Alexander Brook had works in over one-hundred exhibitions, fifteen of which were one man shows. By 1942, Brook had resumed teaching at the Art Students League. Demand for the artist's work kept him in significant collections, galleries, and museums, including the Downtown Gallery (New York), the National Academy of Design, the Rehn Gallery, the Larcada and the Knoedler galleries. Some feel Brook may have retreated from the art world with the rise of Abstract Expressionism, although a sketchbook that he kept from 1949 to 1951 reveals an active engagement in painting and served multi purposes--a repository for his ideas, an address book, notebook, and travel diary. Of special interest are his notes on watercolor technique. It also includes tips for using new painting tools...